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Signature Characteristics in the Improvised Melodic Lines of Herbie Hancock

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Signature Characteristics in the Improvised Melodic Lines of Herbie Hancock Signature Characteristics in the Improvised Melodic Lines of Herbie Hancock Steve Barry A thesis submitted in partial fulfilment of the requirements for the degree of Bachelor of Music (Jazz Performance) (Honours), Sydney Conservatorium of Music, University of Sydney. 2011 Page | 2 Contents Acknowledgements 4 Introduction 5 Aims 5 Project Significance 6 Background 8 Related Literature 11 Method 14 Chapter 1: Examination of Fundamental Melodic Elements which Reflect the Wider Jazz Language 17 Change-running 18 Digital/Scalar Patterns 20 7-3 Resolution 22 3-b9 23 Bebop Scales 24 Enclosures 26 CESH 27 Tri-tone Substitution 28 Harmonic Generalisation/Superimposition 29 Bar-line Shifts 30 Side-slipping 31 Chromaticism/Outside playing 32 Phrasing 34 Chapter 2: Analysis of Signature Characteristics in Melodic Line 36 Sequences 37 Triplet Sequences 42 Outside Triplet Sequences on “All of You” 46 Extended Outside Triplet Sequences 48 Motif Development 50 Rhythmic Elements/Technical Virtuosity 53 Miscellaneous Signature Characteristics 55 Chapter 3: Case Study: “Goodbye to Childhood” 57 Conclusion 64 Page | 3 References 65 Selected Discography 67 Page | 4 Acknowledgements I would like to sincerely thank Phil Slater, Helen Mitchell and my honours supervisor Michael Halliwell for their guidance and openness in the planning of this project. Page | 5 Introduction See, Herbie was the step after Bud Powell and Thelonious Monk, and I haven't heard anybody yet who has come after him.1 -Miles Davis Jazz pianist Herbie Hancock is one of the most successful and respected artists of the last century. From the beginning of his career as a sideman with the trumpeter Miles Davis through to his modern collaborations with pop artists such as Christina Aguilera, Santana and John Mayer, Hancock’s music has always pushed musical boundaries and redefined stylistic norms. Primarily regarded as a ‘jazz’ pianist, his approach is one of the most instantly recognisable in the sphere of improvised music – a style which “remains a basic touchstone of contemporary jazz piano.”2 Hancock has won twelve Grammy Awards (including 2008 album of the year), five MTV awards, an “Oscar” for “Best Original Score,” and countless other awards and honorary degrees, and has been repeatedly crowned “Best Jazz Artist/Pianist/Group/Album” by various magazines’ reader polls, including Downbeat, Playboy and Keyboard. Aims This study is an investigation into Hancock’s improvisational style in the formative years of his career between 1961 and 1969. It examines key musical elements - or ‘signature characteristics’ – that distinguish his approach to melodic line from that of other pianists of the era and contribute to his success as an improviser. 1 Davis, M., & Troupe, Q. (1989). Miles - The Autobiography. New York: Simon & Schuster. Page 266. 2 Gelfand, A. (2005). Almost Anything Goes: For Herbie Hancock, Jazz is All About Freedom and Personal Expression. JAZZIZ, 22, 36-38. Page | 6 Project Significance As the Miles Davis quote at the beginning of this introduction attests to, Herbie Hancock reflects two sides of jazz’s musical coin. Appearing on the scene at somewhat of a pivotal point in the music’s history, he demonstrates both a strong command of “traditional” jazz language, as well as a powerfully explorative individual voice. Between 1961 and 1969, Hancock recorded seven albums as a leader for the Blue Note record label, while also being involved as a sideman with a number of other groups (most notably Davis’ quintet) and simultaneously rising to the forefront of contemporary jazz piano. Hancock’s Blue Note records are significant as they enabled him to first establish his own voice as a bandleader and composer. Although the seven albums encompass a chronological span of seven years, a varied instrumentation with a variety of accomplished sidemen, and an ever-increasing improvisational and compositional range, they nonetheless exhibit a line of continuity in stylistic development unique to Hancock’s career. Each album demonstrates a high level of artistic maturity, often juxtaposing conceptual complexity with disarmingly simple melody, harmony, and feel. While Hancock exerted less artistic leadership as a sideman, his performances in this context nonetheless demonstrate some of his most creative and sophisticated playing. Miles Davis in particular strongly encouraged his men to experiment, and as an emerging artist this played a large part in fostering Hancock’s development as an improviser. On the pedagogical side, the nature of jazz music as an aural tradition has historically meant that one of the primary ways of developing as an improviser is by copying one’s idols or mentors (see, e.g., (Berliner, 1994; Johnson-Laird, 2002). This has fed through into the universal ideology of jazz education systems and institutions, where it is taught that in order to improve musically one must transcribe and memorise the improvised solos of the acknowledged ‘masters’ of the music. In this regard, Herbie Hancock’s musical sophistication and artistic sensibility often make him one of the most influential artists to an aspiring jazz musician. From my personal experience with jazz education at a tertiary level, this conventional method of learning musical material from jazz recordings is generally in a purely aural as opposed to analytical sense – the student will listen to and transcribe a whole or selected part of an improvised solo and then memorise it, note for note. Page | 7 The major downside to this approach is the student simply learns to regurgitate the same tired melodic content time and time again (what is known among jazz musicians as playing ‘licks’), without tapping into their potential for melodic creativity or spontaneity. Recent academic literature has argued that in order to create a successful solo, improvisational algorithms (and in this study’s case, musical concepts) must be ingrained, so that the soloist is able to use their knowledge to generate a range of musical possibilities, which fit within the constraints of both a tune’s harmony and the stylistic criteria upon which it is based (see, e.g., Johnson-Laird, 2002; Sawyer, 2000; Thompson & Lehmann, 2004). With this in mind, this study does not examine specific note choices within a solo, it instead looks at the core theoretical and structural elements that attribute to each improvisation’s success. It aims to provide students with an overview of Hancock’s style and empower them with the deeper knowledge of the theory behind his improvisations, as well as the ability to apply this analytical technique to future transcriptive research. While not the ultimate objective of this study, it is hoped the student will adopt this process in their study of jazz as opposed to the somewhat superficial understanding generated by directly copying, memorising and then reciting the notes of a transcribed melody. It is the author’s belief that through this process a student may begin to develop their own personal improvising voice, instead of simply borrowing the voices of others.3 Much of the academic literature consulted in the research of this study involves fairly extensive historical, contextual or aesthetic analyses in conjunction with analyses of fundamental musical elements (again, see e.g., Wallmann, 2010; Waters, 2011). While extra-musical elements are massively outside the scope of this study, literature of this type does open up potential for future, specific analysis of Hancock’s style – especially within the context of the Miles Davis Quintet. In summary, there are two significant aspects to this study. First and foremost it will provide an overview of Hancock’s style during a significant part of his career, while also paving the way for future, further in-depth research into his exhaustive recorded output. Secondly, it will add to the body of improvisational transcriptions and analysis already available, which will give the jazz musician or educator a new source of study material, or a different view of the familiar. 3 This metaphor of jazz improvisation as a language is discussed in Chapter 1. Page | 8 Background In order to truly appreciate the artistic developments made by Herbie Hancock, it is necessary to be aware of the historical context in which these developments were made. The improvisational language of jazz musicians in the 1950s was heavily influenced by revolutionary be-bop era artists such as Charlie Parker and Bud Powell - who had brought a vast increase in both harmonic sophistication and technical virtuosity to the conventional methods of playing standard repertoire (which was largely based on the “12-bar” blues and popular songs, typically those of 32 bars in an AABA or ABAB form by composers such as Cole Porter and George Gershwin).4 By the late 1950s, artists such as Miles Davis and Ornette Coleman had begun to move away from this bank of common language - Davis released his now seminal Kind of Blue in 1959 which explored the concepts of modal playing; Coleman burst onto the scene in the same year with his quartet5 album The Shape of Jazz to Come, a pioneering leap away from conventional song structures and towards freer forms and collective improvisation.6 The turn of the decade also saw huge developments in the art of jazz piano. The mid-50s gospel-influenced, hard-bop vein of artists such as Horace Silver and Bobby Timmons was a thing of the past7, and Bill Evans had arrived on the scene, bringing an “intimate touch and lucid lyricism”8, coupled with an somewhat introspective, yet explorative and highly sophisticated command of harmony. McCoy Tyner was demonstrating the possibilities of left-hand fourth voicings and pentatonic scales in getting ‘outside’ chord changes, and at the other end of the spectrum Cecil Taylor was using the huge versatility and range of the piano to his advantage in pushing the development of free jazz. Also part of this revolution was Herbie Hancock.
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